Η χοντρή Έιμι δεν επιτρέπεται να χάσει βάρος. Πληθωρικές και Ντίβες – ΑΝΘΡΩΠΟΙ ΤΟΥ ΚΟΣΜΟΥ

Table of Contents 1.

Γεώργιος Λεκάτης - Υπάρχει Θεός;

Appendix: Source Text Used In loving memory of Antonis Dimitriou, — 3 1. Introduction 1. There is, I believe, a dominant, unsatisfied wish to identify closer connections between theory and practice within the current post—positivist nature of Translation Studies Tymoczko 15ff.

Συχνά επαναλάμβανε ότι ίσως ζήσουμε και εμείς πολλά από αυτά που γράφει η Αποκάλυψη. Σκοπό είχε να βάλη μέσα μας την καλή ανησυχία, ώστε να εντείνουμε τον πνευματικό μας αγώνα, να αντισταθούμε στο πνεύμα της αδιαφορίας — που ύπουλα έβλεπε να μπαίνη και στους κόλπους του Μοναχισμού — να απαλλαγούμε από την φιλαυτία και να καταπολεμήσουμε τις αδυναμίες μας, για να έχη δύναμη η προσευχή μας.

For a translator with such a wish, a translation with commentary is one of the few universally accepted approaches to combining the two. This statement highlights an ambition that many authors of similar projects have, Η χοντρή Έιμι δεν επιτρέπεται να χάσει βάρος that I personally share: An eagerness to locate a missing link between translation theory and translation practice, in the hope of improving their translation quality.

Oι καμπύλες γίνονται μόδα - ΤΑ ΝΕΑ

In addition, it indicates a willingness to examine and assess their own translation methodology, to reflect upon it and put forth an effort to improve it.

Closely tied to the purpose of defining translation is a number of diverse conceptual approaches, including a series of metaphors Palumbo ; Hermans 10—12; Barnstone 15ff.

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It is, therefore, essential on my part to define my translational approach. However, I choose to view dynamic equivalence as an ideal, a goal which the translator can certainly never reach but can nevertheless move towards2.

Thus, my translation constitutes an effort to create a target text that transfers the source text into the target language, in such a way that ensures a response from the target text reader that is as close as possible to the response of the source text reader3, without, however, relocating the occurrences described in the text.

However, when the source and target texts elements are similar, a translator can aspire to create the same scope of responses. Examples are drawn from the three translated chapters of the source text and their counterparts. Information from these pages is featured in some parts of this dissertation, and will also be referred to by page numbers.

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Pocket is not only the protagonist of the story, but its narrator as well. There is a series of reasons for my choice to translate Fool.

Τι βάζει η Γουέντι στο ποτό της;

First of all, it is a successful book by a current, popular author, who, however, still possesses the status of a cult writer Glatzer There is a niche market in Greece for similar translated texts, mainly represented by the publishing house Οξύ [Oxy Athens], which has also published another novel by Moore in Greek translation6.

Η χοντρή Έιμι δεν επιτρέπεται να χάσει βάρος, as a source text, Fool is challenging on many levels. It is also a humorous text, and humour is certainly problematic in translation. Finally, however unusual, I am translating Fool because it is, in my opinion, not a masterpiece of contemporary literature.

Η χοντρή Έιμι δεν επιτρέπεται να χάσει βάρος

In reality, hundreds of translators are translating non— authoritative, non—outstanding pieces of literature at this exact moment, and I personally do not believe that they deserve any less of our attention as translatologists, especially since they can provide more diverse and interesting translation examples, and do represent a large part of the translation market.

After all, a professionally conscientious translator will treat a sub—par text with the same respect he or she will show to an extraordinary piece of literary history. This does not mean that I personally consider Fool a mediocre or bad novel; it is merely an acknowledgement of its non—authoritative status and of my intention to translate within a realistic setting.

My reader will find that I have translated three chapters from Fool.

Αντόν Ρουμπινστάιν - Βικιπαίδεια

Later literary and translation theories have presented multiple dichotomies of meaning cf. Boase—Beier 47as well as some reluctance in accepting the term at all cf. Fool is a first—person limited narrative, recounted by the central character, Pocket.

Thus, three out of the four standpoints Iser lists are very closely connected to Pocket in Fool, and, taking into consideration that, in a number of cases, Pocket addresses the reader7 directly, his ambition to expand his control to even the fourth standpoint is evident.

Many lexicographers of literary terms suggest a direct connection between voice and persona e.

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Still, it is possible to find clearer definitions of narrative voice. In that sense, the narrative voice plays an essential role in developing and communicating the style of a novel to its readers.

In fact, in this specific text, these two voices are very similar, if not identical. Therefore, the narrative representation of the world of the novel, its narrative voice, is important within the scope of literary translation studies, as are the voices of the characters.

Αντόν Ρουμπινστάιν

They are also capable of showing these through their manner of talking, through their voice. In the case of 9 Although one can claim, especially about narrative voice, that this is not necessarily the case, considering the current popularity of audio books. One can certainly argue that such inferences would have been made by the reader even if the translator had not taken style into account.

However, by becoming more aware of the source text and its effects on its reader, I can more easily create my Greek Pocket whom I have translated as Τσεπάκης11and re—create his voice as close as possible to that of the English—speaking Pocket.

Taking the intentional fallacy into account, i. This idea agrees with the narrative theories explored above. Moreover, slang, profanity and register, which are discussed in the following chapters, all depend greatly on the reader or listener to create their effects.

The Black Fool's Colorful Language: Translating the Fool's Voice into Greek

Register 3. Accordingly, the language used by Pocket in Fool, a is indicative of his educational level — as the author verifies Kleffelb is revealing of his disposition and relations to other characters.

Η χοντρή Έιμι δεν επιτρέπεται να χάσει βάρος

To elaborate, Pocket tends to talk casually even when addressing his superiors in the castle. However, through his repeated use of casual expressions even when the listener would expect more formal ones, Pocket further reveals his personality to the reader.


Register is believed to have been first used as a term by Reid in Leckie—Tarry 6. According to Halliday et al. Halliday et al. As the term implies, it is characteristic yet not exclusive to that domain.

Η χοντρή Έιμι δεν επιτρέπεται να χάσει βάρος

It is, thus, perfectly possible for someone to use a specific register in a situation which does not require it, e. In fact, such inappropriate choices are often used to achieve linguistic humour Halliday et al. We can, thus, discern two major elements within the concept of register: a the idea of choice: the speaker chooses to use a specific register, it is not an innate characteristic of his or hers.

Πληθωρικές και Ντίβες

It is, thus, apparent that register is one of the many stylistic features of a text, since style is constituted by the voluntary choices of a speaker or author Boase— Beier 1.

Boase—Beier The choices of register made by a character can offer information on his or her thought process, emotional situation, relations with other characters, intentions. The choices of register made by a narrator 12 Some confusion is also evident in distinguishing between the terms register and genre in linguistics, as they often overlap in scholarly works.

I believe that this confusion may originate from classification into text—types, an area arguably more helpful for non—literary than for literary translation — as we do refer to the genre of a literary work but not to its total register cf.

Hatim ; ff. Using this dichotomy, I am, within this dissertation, discussing register in lexis. While register analysis has played a rather important role within translation studies, it was, however, almost exclusively applied to constructing text typologies Hatim —; Munday 91f.

Η χοντρή Έιμι δεν επιτρέπεται να χάσει βάρος

The connection between the concept of register and the expectations of a reader, is, however, fundamental, because it highlights the important role that register plays in the response that a reader will have to an utterance. On the contrary, I wish to take a more literary approach to register, by considering the register s chosen by a character as important exactly because of the power they hold to influence other characters and, perhaps even more importantly, the reader of a text, and accordingly, the reader of its translation.

Had it been written in or translated into a neutral register, in standard language cf.

By continuing, you agree to their use. Learn moreincluding how to control cookies. Got It! Παρότι το πάχος παραμένει το τελευταίο ταμπού στο χώρο του θεάματος, βλέπουμε όλο και πιο συχνά στην τηλεόραση και το σινεμά ρόλους για εύσωμες ηρωίδες Κάτι φαίνεται να αλλάζει στις οθόνες μας. Μπορεί οι πιο επιτυχημένες σταρ της εποχής μας, νέες, ωραίες, αδύνατες και καλογυμνασμένες, να προβάλλουν συστηματικά ένα πρότυπο ομορφιάς που απέχει πολύ από την εικόνα της καθημερινής γυναίκας, όμως το Drop Dead Diva, ένα σίριαλ που άρχισε να προβάλλεται στην ελληνική τηλεόραση ανατρέπει κλισέ και στερεότυπα τα οποία σχετίζονται με το γυναικείο σώμα.

In translating this sentence, then, one has to comprehend the role these two words play in changing the tenor of the register. My proposed methodology would be to consider what the register does in each individual occurrence, and, accordingly, find a register in the target language that produces the same effects.

The assumption that the appropriate register s within a given situation will vary between languages has been commented upon by many, including Gutt, House and Fawcett Fawcett It goes without saying that this is also valid for inappropriate registers, as well as for the effects a register has on the listener or reader.